In my more anarchic
moments I have been known to dip into Viz magazine and last Christmas a copy
was a surprise present from my daughter’s partner, who obviously recognises a
former Beano reader when he meets one. In truth, I did not get a great deal out
of the irreverent and very un-PC comic strips, but some of the contrived contributions
to the so-called letters page left me in stitches, as they have done many times
before.
One such that set me
off on this occasion included a reference to “One Clavdivs,” using a joke that
had already been made, I believe, by Harry Enfield and Paul Whitehouse about
the historical drama, almost of the same name, which was based on goings-on in
the Roman Empire. It starred Derek Jacobi and was seen as rather “risky” TV in
the days before the internet opened various flood gates. Poor old Mary
Whitehouse. Thank heavens she was alive in a different age. She would just not
have known which way to turn today.
Paul Whitehouse, on
the other hand, had himself given me a fit of uncontrollable mirth on another
occasion that springs to mind. It was one of those moments, sadly rather rare
these days, which I experienced frequently in my youth, when I am laughing so
much that I am literally doubled up and wondering at the same time, how I’m
going to be able to take my next breath.
In December 2013, an
unannounced translator had turned up at Nelson Mandela’s funeral, supposedly there
for the benefit of deaf viewers, but, in reality, someone who had certainly not
been expected by the authorities and who did not have the slightest clue when
it came to the delivery of sign language. It was a clear breech of security and
a moment of public embarrassment for the South African authorities and it was
broadcast worldwide, just at a time when so much of the world’s population was
united in grief.
The funny bit came soon
afterwards at a celebrity awards ceremony and was then made available as a few
moments footage on You Tube, though, luckily, I happened to catch it on TV at
the time. Paul Whitehouse arrived on stage to receive his accolade accompanied
by a person unknown, who proceeded to make gestures to the audience which were obviously
unintelligible to all, even more so, no doubt, to the hard of hearing. It was
as topical as it was pricelessly amusing. I would probably have to go right
back to the first time I saw Alas Smith and Jones’s introduction to Jazz Club
for a side-splitting tele-visual moment to rival it, at least until someone
reminds me of something else.
What has all this got
to do with trains, never mind railwayana? I hear you ask. I’m getting there.
The writer and creator of the Viz magazine is Chris Donald. He wrote an
autobiography, entitled “Rude Kids, The Unfeasible Story of Viz.” I can
recommend it, but although humorous in parts, it does not make for comfortable
reading throughout, as Chris recalls some of the problems that a rise to
prominence brought in their wake. This culminated in a rather sober self-assessment
when he realised that the enjoyment had all been to do with the drive to make a
success of his magazine, and that once that dream had been achieved the fun was
largely over. It appears it was the thrill of the chase that had kept him
going. Eventually, Chris ended up working for Barter Books, a second-hand book
shop - and so much more - in Alnwick, Northumberland.
Barter Books occupies
the old station building at Alnwick, designed by William Bell. The North
Eastern Railway opened the station in 1887, replacing an earlier one dating
from 1850, which was further away from the town centre. It was the terminus for
the branch line from Alnmouth and also for another branch from Alnwick to
Cornhill, where it joined the Tweedmouth to Kelso line, and which was opened at
the same time.
By the end of the
nineteenth century, Alnwick station was being used by sixty trains a day. Those,
like me, still clinging doggedly to memories of 1960’s steam, will recall that
the line became strongly associated with the Peppercorn K1 Class 2-6-0s, of
which 62005 is a notable and well regarded surviving example.
The Alnwick to
Cornhill branch lost its passenger services in 1930 and goods traffic ceased in
1953, though the Coldstream to Wooler section survived until 1965. British
Railways closed the line to Alnmouth and Alnwick station, in 1968. The
substantial, stone-built, twin train sheds both still survive and are home to a
number of enterprises today, of which Barter Books is surely the most widely
known?
This is no ordinary
second-hand bookshop. We were met during our October visit by a roaring open
fire, plenty of animated and helpful staff, comfortable seating, a well-stocked
children’s room, an inviting café, oceans of shelf space for browsing purposes,
tasteful and decorative artwork on the walls, an overhead model railway and
some amazing, commissioned murals that take your eye from above.
You can walk along one
of the former station platforms to peruse the aisles of bookcases. They also
hold book group meetings and entertain visiting speakers. It would be possible
to spend the whole day there quite easily - and especially if it is raining -
which, as we found out, is quite possible in Northumberland in October. Luckily,
there is also a good selection of railway books. I bought Bartle Rippon’s, “The
Alnwick Branch,” which seemed like the obvious thing to do.
All of this is within
the substantial original framework of Victorian stone, wrought iron, timber and
glass, which the owners have continued not just to protect, but to enhance, by
their sympathetic restoration, for example, of the fireplaces and the canopy.
The Aln Valley Railway
is aiming to bring trains back to Alnwick by 2020, although this time to a new
station at Lionheart, further out from the centre of town, as subsequent road
and other developments appear to have thwarted plans to include the original
building in the reconstruction of the line.
When in any bookshop,
I make a beeline for railways and then the humour section, much preferring to
be entertained in that way than by the classics, detective stories or any other
genre, really. Not that I have found that railways, or even the railwayana
scene, are exactly humour-free zones, either. At auction, it is usually the
chair that we depend on for a bit of light relief from the serious business of all
that cash changing hands.
I have to admit that I
can find the pleas of an exasperated auctioneer trying to move on a substantial
piece of metal with somewhat jagged edges rather amusing. “Deltic flame
cut………Nobody wants it for 350 quid?..............My God.” In a different place,
there was an introduction to the Lawrence Hill totem, “If your name was
Lawrence Hill, you’d have that.” Wry smiles and half-hearted apologies often accompany
the various attempts at the pronunciation of the latest Welsh key tokens, and there
must surely be a limit to how many presents of china or silver plate that the
wife’s sister can make use of?
I had a soft spot for
Malton’s regularly aired suspicion that certain items had been found on “Eeeee-Bay,”
whilst in another part of the country, the chair asked a buyer sitting near the
front and struggling to protect his recent acquisition with bubble wrap, “Are
you wrapping your Christmas presents?” All the auctioneers have their own
endearing characteristics and catch phrases, of course. Perhaps some styles are
more easily identifiable than others, and so I think that many regular
attenders over the years might recognise this “bigging up” of a piece of
original artwork, “That’s nice. Look at that. That’s nice. That’s almost 3D.
£500 to start……£450, then. Not a penny less. It’s got to be worth every penny
of that.” It makes me smile. It is all part of the theatre of the event.
We all laugh at
different things. Some people were no doubt left in stitches by Terry and June
and see Mrs Brown’s Boys as the highlight of their watching week. It is
laughing itself that is important. It is sociable and apparently good for your
health as well, releasing endorphins in the brain and encouraging that
“feel-good” factor. So, thank you, Chris Donald, a man with a serious side who
likes books, trains and off-beat humour. I can identify with all of that.
[This article also appears in the current edition of the Railway Antiques Gazette. Thanks are due to the editor, Tim Petchey]